tv Charlie Rose PBS June 10, 2015 12:00pm-1:01pm PDT
>> rose: welcome to the program. we begin this evening with the champion, victor espinoza, the jockey who rode american pharoah to his triple crown victory. >> i wanted to take control of the race as soon as the gate opened. after that, i just let him do his own thing for the high speed that he had. but i was waiting for everyone to come close down the lane. i wait. i wait. things can go wrong in a matter of seconds, so i don't want to make a mistake, right? so i waited as long as i can and when the time came to go i said, i can't wait longer. >> rose: we continue with james corden, host of cbs's the "the late late show." >> everything i've done in my career, whether the television shows i've written at home or the things i've acted in or been a play which is myself talking to an audience, but really, on
this show, one thing i'm really thrilled about is we've managed to do so many other things -- singing, dancing, sketches bits, other things -- and that's been the most thrilling discovery of it, really. the fact that that's been stuff people have responded to. >> rose: we conclude talking about the hotel business with ian schrager and arne sorenson. >> we watched the space ian invented with morgans in 1984 and thought initially this is niche. maybe not that big maybe it doesn't make that much difference to us. and with each passing year we found this was the kind of stuff in the hotel business that captures people's imagination, they want to talk about it and are inspired about it. we taut we wanted to get in this space and needed the expertise and who else better than the person who invented it. >> rose: victor espinoza, james corden, ian schrager and
arne sorenson, when we continue. >> rose: funding for "charlie rose" has been provided by: captioning sponsored by rose communications >> rose: history was made at belmont park last weekend when american pharoah won the triple crown. he was the first horse to complete the elusive feat since the firm did it 37 years ago in 1978. however is a look at the home stretch of saturday's race. >> as they come to the top of
the stretch frosted moved up to second and into the stretch. and american pharoah makes his run for glory as they come into the final furlong with an eighth of a mile to go! american pharoah all out at the 16th pole! and here it is! the 37-year wait is over! american pharoah finally won! american pharoah has won the triple crown! (cheers and applause) >> rose: the victory was victor espinoza's third attempt at the triple crown after previous bid with war emblem in 2002 and california chrome last year. i am pleased to have him at the table for the first time. welcome. >> thank you for having me. >> rose: you can't see that enough, can you? >> no, no. it just gives me goosebumps. >> rose: and what happened when you had an eighth of a mile to go and he seemed to pull away
then? was it simply that he had something more or was it the other horses didn't have as much? they slowed down so to speak? >> no, no, they should have more. i want to take control out of the race, as soon as the gate opened, and after that i just, you know, let it do, like, his own thing for the high speed that he has. but i was just waiting for everybody to come close to me down the lane, you know. he was doing a thing so easy. i wait, i wait. things can go wrong in a matter of seconds. i don't want to make a mistake right? i waited as long as i can and when the time came i let it go and he just drops to the ground. it's like sports cars, when you're going fast, he just laid down and dropped to the ground. he just leveled off and it was just the best feeling ever. i don't want to feel like i
really pass the wire, i wanted to make sure. >> rose: you said you knew you were going to win at the first turn. >> yes, the first turn i got the race under control and i know this can happen. but it's a long ways, too still, but i had a feeling that i know american pharoah and myself, we can do it and he was doing his thing so easy, and when it comes to all these things, it's confidence. i have confidence in american pharoah and in myself so i know i had a good feeling. >> rose: he wanted to go earlier than you wanted to let him? >> yes, by the fifth pole, he wanted to go. i was, like, not yet! wait! wait. >> rose: do you just hold back on the reins? >> yes, you have to time it right. if you hold it too much, by the time you want to let it go, it might not go. >> rose: tell us how you communicate with your horse. >> it's not really communication. it's all about being attached to
one person, basically, you know. >> rose: you are one with your horse. >> exactly. it's attached, you know. we have to think the same. we have to move the same. you know, it's always like if i move forward, he's going to go forward. if i move sideways, the horse will go the other side. whatever direction i move, the horse will connect. >> rose: they can feel it. they can feel it, yeah. >> rose: someone watching said to me when you came out on the track, pharaoh looked very keyed up and you sort of took him off to the side. >> yeah. >> rose: what was that about? i don't want him to be close to the other horses because, you know when he's -- i feel like if i get him close to the other horses he's going to really, like, you know, be competitive and be more aggressive, and i want him to be calm. i want him to just relax, you know, before we go to the gate. so i moved him away from the other horses and then i wait as long as, you know, as possible
until barely the end and i jog him close to everybody to go to the gate. >> rose: the first word out of the announcer's mouth is when it opened, you had a slow start or it wasn't a perfect start. >> no. >> rose: what does that mean? well, because american pharoah, he's such a powerful horse, he's strong and powerful, that, you know, it takes him a couple of steps, maybe two or three to really, you know, start rolling, and as soon as he accelerates and he had that high speed, there's not many horses that can keep up with him. but that's what it was too. and he was standing there perfectly fine, you know and then he kind of -- like his body pushed back behind the doors which is not a bad thing. >> rose: moving forward to this year, you would have worried if he was not in front would you not? >> yes. >> rose: he needs to be in front. >> no, not necessarily. >> rose: oh really?
no. i always want to try him to be behind the horses, but like i say, he has a high speed and -- >> rose: he wants to be in front. >> nobody can keep up with him. and then finally, i road one time and a horse took off in front of him and he said, okay, that's my chance. i road him behind the horse and he blew the horse away. the kentucky derby i let two horses go, i was sitting in third and i won again. in the preakness, it was different because the weather changed and it was raining so much that i think i had so much water, i don't want to be all muddymuddy anymore. i went straight to the front and that was it. >> rose: what makes him great is what is this how do you say it other than saying, well, he's faster than everybody else.
>> yeah. >> rose: how do you say it? what is it that makes a great horse? is it something we don't appreciate because we're not there on top of the horse? >> the way he takes everything, especially because he won the kentucky derby and went to the preakness. seems like nothing affects him. he's getting better and strong around is amazing. not many horses can do that. and then the preakness. and come back for the belmont he looks bet when were he runs in the belmont. but what's unique about this horse that's different than the other horses, i do not feel like he's going fast. >> rose: it doesn't feel like he's going that fast? >> no, and he's five or six lengths in front of everyone else. he makes the other horses look pretty much slow because him, when he runs, he barely touches
the ground. he's such a heavy and powerful horse, his legs are barely touching the ground. >> rose: so when you're there and he ran the last quarter, i think, faster than secretariat. >> yes. >> rose: who was 15 lengths ahead. >> at that time, when i was riding him, i was not worried about the time i just didn't want to move too soon. i could have let him run at the middle of the turn and he could have won by another three or four lengths. >> rose: you think so? yes. >> rose: you did what you thought was knows win. >> yes. >> rose: and if you'd let him go earlier he would have been even further ahead. >> yes. >> rose: was there anything about that day that made it the way it was? i mean, do horses have days in which they're on and days in which they're not? >> yeah, for sure. i think it's horses are like people. some days you don't feel like
it. you don't feel like doing your work 100%. but that day, he was ready to roll. >> rose: how do you use the whip? when? >> to encourage them. >> rose: to make sure he understands what you want him to do. yes. it's nothing to do crazy things. just encourage him to go forward in. the grand stands, they can say hey, what's going on, but it's just more, like, talk to them, you need to just go forward. >> rose: he wears earplugs. yes. he always has. >> rose: because he doesn't like the crowd noise? >> yes. he's more calm and more mellow. >> rose: so in his own world. yeah, i don't know what it is, but it works. some things you can't describe how it works but it works for him. >> rose: so if someone said to you, what's the difference in the fact this year you won the
triple crown and the other two times when you had a chance and you failed? is it simply a better horse or something else? >> it was always, you know, to win a triple crown it's very easy, it would take a special horse to win a triple crown. >> rose: and the other two horses didn't have it? >> they don't have it. after the preakness they're, like, you know, they're kind of in the other direction. his energy was better. >> rose: did you have a game plan for the belmont? >> yes, and no. a lot of races, we have a game plan and everything goes wrong. >> rose: they say after the first battle tall plans go awry. >> exactly. pretty much it works out because it was sent out the gate and opened it up one or two lengths
minimum one. >> rose: out of the gate? by the first turn. if i can get to the first turn one length or two -- >> rose: you were there. i think one which is exactly what i wanted because at that point if i can put one or two lengths in there the other horses, they cannot attack me because they have to use their -- other jockeys have to use their horse. if they use them there early they won't have nothing left in the end. and that was my key. when i hit the turn, i was one length in front, i was so confident. >> rose: growing up in mexico, you didn't really like horses. >> no, i was afraid. >> rose: how do you go from being afraid of horses to a world-class jockey? (laughter) >> well, as always, i have
respect for the horses, but, you know, i think, for me, to just let that fear go away just to survive, basically. we're all here to survive. and nothing, you know, can work unless you're trying to survive. it's all about survival. >> rose: has it been for you as a jockey an up and down life? >> yeah, a lot of times. there was a moment there when nothing was going right. sometimes i think i don't want to do it no more, but you know what, i'm always positive and you know, go forward. i never look back what happens, you know, yesterday or the day before. you know, if i have a bad day i just go on. i wake up the next day start a new day. >> rose: but i'm asking sort
of, is this something you really love? or? simply something you do well and get paid well for? do you love it? is it a thing you have passion about, you can't wait to get on top of a horse? >> moments yes and moments there are not. and it all depends, if you have a horse like american pharoah yes. >> rose: yeah, exactly. why did bob choose you? >> i thought -- the last time, you know, when i talked to him he thought i was the right jockey for the horse. >> rose: what was that about though? do you understand why he thought you were the right jockey for this horse? >> well, because first, he was not very kind in the beginning crazy, you know, because he too young and he thought i could control him. >> rose: how did this change your life? you have done something very very few people have ever done. >> i know right? >> rose: yeah. you know, i even think about
it now because i never had that happen. so this time i come here with like, you know, if it happens it happens but i never plan by myself what's going to happen if i win. i have been so busy i didn't have time to think about it. but it's fun. >> rose: yeah. jerry bailey said about what you have to do to win the belmont is you have to get the pace right which you clearly did. he said also you have to know where you are at every moment on the track. >> yeah. you don't want to let lost on the track. that would be a problem. it's like getting lost in the city. >> rose: you have to know exactly how far i am, how far i have to go and exactly the moment to let him go because he wants to go. >> every step the horse makes you have to make sure is the right one. >> rose: what happens when a horse just doesn't have anything
left? you just feel it slowing down? >> that's the worst feeling. yeah, you know we're riding basically up on the horse. from her knees to the ankle. >> rose: from the knees to the ankle, you are feeling the horse. >> yeah. and the horse has such a big heart. when it starts getting tired, his body he's not really strong. breathing, they're breathing really hard so the heart is close to the ankle and you can feel the heart pumping really, really hard. it's really fast. you know, that's the worst feeling when the horses start getting tired and the other horses are going faster than your horse. >> rose: you donated your winnings, $80,000, to hands of hope, a charity that you believe in. >> yes. i donated all the earnings i have from the belmont to the
little kids with cancer. not for adults. i haven't done that. >> rose: why that charity? well, because i have been there a couple of times. there are kids that are such a young age that have that disease. i can't even explain how, you know, those kids, that age, they have that disease and they're happy. and we worry about oh, i can only win one race today. >> rose: and they're dealing with terminal illness. >> exactly. it's heartbreaking. it's really heart broken for me and that's why i do that, just, you know hopefully that i can help, you know just one person that can help extend a day or two of their lives and for me, it's just, i think one thing i decided to do for my own. i do it from my heart.
>> rose: good for you. thank you for coming. pleasure to meet you. >> thank you for having me. >> rose: congratulations again. >> thank you. >> rose: back in a moment. stay with us. >> rose: james corden is here, award winning star of theater film and television. in 2012 he won the tony award for his performance in one man two governors. h beat out acting giants like phillip seymore hoffman and others. here's a look at his journey into late night. >> i'm sure lots of people are wondering how i ended up here in this seat, and i include myself in that, too. rather than tell you, we thought we would show you this. ♪ >> craig ferguson announced he's leaving "the late late show" after ten years. the question is who will cbs get to replace him? >> once again, we need a late night host. >> i thought we just hired one. that was the "late show."
what's your name? james corden. who? james corden. from accounting? no. from tender? no. grinder? no. i'm from england. >> i don't know you. (knocking) >> what? but i've got the ticket. you might have the ticket, son, but have you got what it takes? >> probably not. >> (laughter) >> rose: so that's how it is. yeah, that was pretty much it. that was all factual. >> rose: you have been doing it how long? >> we've done 33 shows yeah. >> rose: and how is it? has it been beyond expectation? all the fears you've had have been subsided? >> i don't know if they'll ever fully subside. i'll always be quite terrified by it. >> rose: terrified by what you're going to do the next time? >> i'm often fired just
generally -- i'm often terrified just generally doing it because there is a strange thing making a show like that which i've never had before. i think you probably would shoasht with this feeling. when you're making a show you're doing like that, you feel you're one of a team because there's a whole world of people that put this show on. so you really don't feel the pressure that much. it's just you all of us in it together. and then very slowly, people just tap you on the shoulder and go, good luck. hey, have a good one. we're rooting for you. and before you know it, you find yourself on your own behind the curtain going, oh -- oh, we were a team but now it's really sitting here and that's what i found was the hardest thing. i'm thrilled and overjoyed at the way that people have respond snood as you know, as a brit, when church hill assumed the prime ministership at the
beginning of world war ii he said everything i've done has prepared me for this moment. did you feel that? think of what you've done so far. >> i feel like everything i've done in my career whether the television shows i've written at home or doing a play like the governors which is very much myself talking to an audience, but really on this show what i'm really thrilled about is that we've managed to do so many other things singing, dancing, sketches, bits skits, this, that and the other and that's been the most thrilling discovery of it, really, the fact that that's been the stuff that people have responded to. >> rose: but do you have a feeling that you were changing the genre a little bit? >> no, i don't think so. i don't think so. i mean, you know, i think all shows are -- all shows influence
another, you know. so -- >> rose: david let mineral who just -- david letterman who just retired did skits from the beginning. going on top to have the building and throwing off a watermelon. >> people say, it's not like it used to be. now people are just calculation chasing viral hits. this last couple of weeks watching letterman's greatest hits, there were bits where he worked in the drive-through or worked in taco bell or he and steve martin's big day out those things would have been huge on youtube. i feel youtube should send david letterman some money just because he almost invented it and i think that's what's happening now. and i think we're doing an interesting interview which jay leno showed me which was seven years after johnny carson had taken over the tonight show and
someone wrote in the newspaper when is mr. par coming back to save the tonight show, all johnny carson does is skits and bits, and mr. par as he's referred to, used to do proper interviews. and then jimmy fallon's show was influenced by letterman. >> rose: johnny carson was influenced by steve allen. >> yeah, all of those things start to, you know influence you, i think. >> rose: but it feels comfortable, at least. >> i feel a lot more comfortable now, just in the manner that people -- in the manner that -- i'm just overwhelmed by the way people have responded. >> rose: that's the reason you feel comfortable. is it the idea you didn't step on the banana, you didn't do anything people would have said after you have been on, how did
this ever happen? why did he -- why did they ever think he could do this? and in fact said isn't it interesting what he's doing? >> yeah, i'm overwhelmed by that, really. i'm incredibly relieved and grateful. >> rose: could this happen in prime time, a show like this, or -- you know, jay leno tried to do it but jay leno is jay leno. >> i'm not sure. >> rose: late night there's a feeling of freeness and -- >> and also the feeling of being the end of someone's day. >> rose: yeah. i feel like the change -- not that i know anything about the history of late night at all, i don't. i didn't grow up here. but i feel like the change in late night as opposed to a more positive outlook a greater sense of warmth and positivity is just a reflection of what's happening in the world today. >> rose: because you've
seen -- because to have the immediacy -- because of the immediacy of news, 24 hours a day, you're full of that. >> yes. >> rose: it's not just a 30-minute newscast, you've seen it all day and online, too more so. >> you might want someone say it's going to be all right. and they wake up to you in the morning and realize -- >> rose: no, i put them to bed, too! (laughter) but it seems like it either makes you laugh or it gives you a chance to eavesdrop on something. makes you laugh or in here they're eavesdropping on something. >> yes. >> rose: getting to know you in a real way that rather than in a performing way. >> yeah also, i think the small changes that we've made in our show as opposed to other things of bringing all our guests out at the same time and things, we would think about it in terms of atmosphere, really and we would talk about the show going well, we're on after a talk show.
there's a talk show before our show, so what should we do? and we would think, well the show before us is from a broadway theater. -year-old you go after the -- where would you go after the theater? maybe something more intimate and talk with people and we thought let's bring our guests together and make it feel more like an organic conversation, if you like, and that's -- and we didn't know quite how people would respond to that. people responded to us putting our couch the other way. that's the freedom we feel when you've not grown up here. >> rose: are you fearless? no, not by any stretch no. i'm often full of terror. >> rose: not only terror about will i succeed but terror in willing to take risks. you seem to be. >> well, i don't know. i think in all of these things
you have to just sort of google earth yourself and realize it doesn't really matter. do you know what i mean? and actually, you go -- well, you know what's the worst thing that can happen? you look a fool. well, so what, you know. >> rose: and then go back at it tomorrow. >> exactly. so i'll sort of do anything for a laugh really, is the truth. yeah. >> rose: how long has that been with you? i'll do anything for a laugh -- said in a better way, how long has the idea of making people laugh been a source of satisfaction or even ambition? >> well, i think a lot of it comes from school. i had a very good and positive school experience. i went to a normal, comprehensive school in the u.k. there were a lot of children in
it in class. if you're big like me, in school, anything that's different, you're a target for a group of bullies. >> rose: you were a target? i never got targeted that much because once what i realized quickly was hang on, if i do something silly and make these guys laugh then i'll deflect. there's power in that, and what you realize is if you can say something quite quickly and make a bully feel on his own unostracized bullies go, okay, we'll stay away from him and they'll chase the kid over there, and you say oh, i'm sorry, as he's running, being chased across the field it should have been me. but that's where it came from, i think. >> rose: are most of the skits you do carefully scripted out in a general way or are you just going in there and saying, i know how to make fun?
if it's, in fact, about delivering pizzas i know how to do that. >> it's all those things. you want it to feel organic. i think our eight episodes, we did a show in somebody's house, we just -- we got a permit to film on a street in los angeles and we didn't know which house we were going to knock on. we didn't know if anyone would let us in, but we thought well, let's just do it and go for it and try it. we knocked on one door, they said no. then no one in, then the third door someone said come on in. >> rose: sure, come on in. and we sat up and shot the show in somebody's house and we have pretty much no prep for that other we're going to play hide and seek at some point. >> rose: you were going to play hide and seek at some point. that's what you do in a house like that. >> yeah, but those things make me feel -- those are the things -- those things i saw on
david letterman's show i find absolutely inspiring. his interaction with people and getting out on the street and just doing stuff and being a citizen of the world, really, and we do a thing on our show called take a break, where we go to someone's work and say, do you need a break? i'll step in for you. i'll cover your shift. and they leave. and i'll just cover the shift for an hour. it's not scripted. we don't know what's going to happen. we know nothing. we did it once in a mattress shop and there were literally four customers. it's just me and the owner of the shop cuddling on a bed. that's kind of it, really. that's when i feel late night has an ability. >> rose: are you going to continue to have time? you're doing the show. it's like a part-time job for you. (laughter) >> yeah, i know, really. >> rose: tell the truth, it's a part-time job for you.
you do movies and specials and you're going to make documentaries. >> i feel like i really have to give everything. i have to give all of my focus to this show right now i just do. then my time, i owe it to my family to be with them. but i do hope that further down the line, you know, it's a dream of mine to host the tony awards. i would give anything to host that show. >> rose: what does that say about you? tell dr. rose what that says about you. >> i like being the center of attention, charlie (laughter) i don't know anyone was thinking i wonder if this guy enjoys people looking at him. >> rose: no, but the tony awards, it's singing dancing acting, live performance, it's everything. >> it's the best show on tv because there is a massive element of performance. award shows by their very nature
are very, very indulgent things. billy crystal said this is what people need, to turn on the tv and see a group of millionaires giving each other gold statutes. it's one of the greatest lines i've ever heard. but the tony awards -- >> rose: everybody loves a good contest. >> i love broadway and the theater so much. >> rose: that's my point. i've had the best times of my life in this city working in those twelve streets of new york. >> rose: i was the introducer of john oliver who just won a peabody. what made me think about him is he so generally loves being in -- genuinely loves being in america. he loves being here. >> genuinely, it's a thrill coming to america. living here with my family the age they are my son is four and
my daughter seven months old it feels like an absolute privilege to come here, let alone work here, let alone have your own show here, it's almost too much for me to think about sometimes, and i feel very, very lucky to have had the experience of living in new york twice. ism very lucky to be having the experience i am right now of living in los angeles. and then on top of that, to be able to, if only for a fraction of people who live here, to talk to them every night is almost too much for me to take in, you know. >> rose: it's great. i'm excited to see where the show goes and what kind of fun we can have with it, you know. you will come and do a skit one day. >> rose: only if i can do a skit. >> right. i'll get my thinking cap on. >> rose: great to have you here. >> always a pleasure. >> rose: james corden from "the late late show." back in a moment. stay with us.
>> rose: ian schrager and arne sorenson are here, one of the inswrenter of the boutique hotel concepts, the other c.e.o. of marriott international. they are tblig a new brand of luxury with the new hotels. the edition opened this year in madison square park, nine others are opening in the coming years. a new book looks at the career of ian schrager. he brought us studio 54 and the morgans, paramound and delano. i'm pleased to have ian and arne at the table. welcome. >> thank you. >> rose: in your wildest imagination, you could not have imagined a partnership with marriott ten years ago. >> that's true but, you know, things change. >> rose: what changed? well the company's changed. >> rose: your company, his company? >> his company changed. it takes a tremendous amount of
initiatives, going into uncharted territory which is interesting to me. also, i wanted to do something on a much larger scale than to date. >> rose: and you needed somebody to help you reach the scale. for you? what's in it for you? >> we needed his expertise and permission. >> rose: what permission? we watched the space ian invented with morgans in 1984 and thought initially this is niche. maybe not that big. maybe doesn't that much difference to us. what we saw with each passing year is this is the kind of space in the hotel business that captures people's imaginations and they want to talk about it and are inspired by it. we decided we need to get into the space. we needed the expertise. who better to go to than the fellow who invented it. >> rose: get me and schrager. ight. and we also needed for customers
to know we could be successful in this space. for us to come out with all the debates we have among our team, hypothetical we just opened this hotel in new york, if we opened exactly the same box which we wouldn't have done, but for the sake of discussion, without ian, would we have gotten the same reception from the market, and i think i think the answer is. no ian gives us permission to be in this space. >> rose: when they're asking for ian schrager what are they asking for? what's the ian schrager idea? >> trying to give people an alternative. trying to do something unlike anything else available in the marketplace. when you boil it down, that's it in a nutshell. something really unique and distinct and separates itself from everything else and gives a unique elevated experience. >> rose: has your ambition changed?
>> my ambition hasn't changed one bit. if anything, it's more than it has ever been the. been. i'm still as hungry as i've ever been. >> rose: for what? to keep breaking new ground and showing people that there is a whole lot of new territories and rules. >> rose: and this is in this book. you will see some of that. you will see your life here. this is a remarkable, heavy but full of a whole range of photograph and design ideas and sense of place and everything else. but where does all this come from for ian schrager? what shaped you to have this role so that huge marriott corporation knows they need your permission to go into that space? >> you know, i think when you think outside the box you see things other people can't see and when you present them to other people you're presenting something to them that they're
not used to seeing, and if you're lucky enough to have it resonate with them then you really have a huge hit and that's something that i have been, you know very fortunate to be involved with. >> rose: it might extend beyond the addition but in terms of you have partnership with somebody who has a different view of the business you're in and the business that's made marriott what it is. >> yeah, and ian has bigger influence in our company than simply the edition hotels we've opened. >> rose: already. already, because he brings -- and i might ants -- answer the question you asked him where is ian schrager? where does this come from? i think there is a piece of ian that's a rebel and a piece of ian that's a perfectionist. both are important. the rebel caused him to say 25 years ago, i want to do a hotel that's different from marriott's. i'm going to turn it upside down and start from scratch. but the perfectionism which is constant and quite sympathetic
with who we are but is it's got to be perfect. it's not just an idea which is different, but it's an idea that's different -- >> rose: it's exotic. it's executed all the way through. >> rose: same attitude as steve jobs. >> same attitude as steve jobs. >> rose: where's luxury today? what's the new thing in luxury? the new approach? >> it's completely different. things change -- clothes cars kitchen appliances, technology, everything changes it's a completely different world. so luxury, have to respond to a whole different set of criteria. we're no longer concerned with the traditional trimmings of luxury. in hotel gold buttons, white gloves, sterling silver, fine bone china. people don't care about that. >> rose: what do they care about? >> simplicity, being made to feel good -- >> rose: and at every turn there is quality. >> everywhere you turn.
but i think that that luxury doesn't bear a relationship to how much something costs. it bears a relationship to how special it makes you feel. and when i feel you in that special place which is hard to define but we all know, and that puts it in a bot. >> you paulk into an edition hotel, this is where it's going to be. you can't be any better. that's a tiny little landmark in new york city. >> one of the reasons we were attracted to the building is it becomes one of the most iconic hotels in new york, because of the external structure which we didn't change. >> rose: other than money what do you bring to the table? >> well, i think we -- >> rose: capital is a better way of saying it. >> ian may disagree with bits of this and certainly can jump in, but i think we bring a decades-long experience in service and a genuine welcome.
so i think much of the experience, our observations of the boutique space. not necessarily ian's. but the boutique space broadly defined is they might create interesting product but then you have an awful experience. you couldn't get a good night's sleep. you may have been treated as if are you really cool enough to be in this hotel and a lot of people didn't find that sort of a complete experience. so if we can harness our wagon to ian particularly around the staging of the hotel, the physical staging of the hotel and the relationship of that physical product to the city and the culture of the city and the attitude of the city and then basically bring to it real expertise around serving and training so that people feel not only special in that they're getting a great experience but really welcome. and then go upstairs and sleep like a baby, where it's quiet. >> rose: the interesting thing i think about what ian does for me and having known him for a
long time is he makes you think that he's thought about this you know. that he's put together something that may be disparate in terms of when you see see it coming together burks it's a unique thing. >> people get it when it comes together. it resonates. that's exactly what we're trying to accomplish, exactly what you said. >> rose: any hiccups? we had the great recession. we launched in 2007 and immediately got underway with good momentum and had about a dozen hotels in the pipeline around the world. all but two died when the recession hit. >> rose: all but two. all but two. one of the two, we lost one, the one in istanbul is still open, but we had to reboot in 2011 and
2010. marriott bought this building. it was an office building before. ian looked at it before. we bought a building in london and miami and those three we developed on the balance sheet to get the brand relaunched. that's been the biggest hiccup. >> rose: getting the edition brand? >> the edition brand going again. so with these three hotels now open, what we're seeing with the real estate partners around the world is they love the brand. they're intrigued by it, they love london, miami they're experiencing new york and they say i want one of those. >> rose: i want to be there. i want to be there. i want to hire mar yod to management hotel. i want to bring him in to create the hotel and i want to be part of this new thing which is happening in this space. >> rose: we can all think that we can do this and we might have good ideas but it's different and much more difficult to execute. you can have the idea, but execution separates the good from the wannabes.
>> yes. you have to be relentless about that. that's the operative word and being a perfectionist could be like a curse sometimes, because you can never get to the point where you're almost 100% happy but, i mean, without the execution, the idea is meaningless. there are a lot of people have good ideas i suppose but you have to be able to turn it into something and you have to be able to turn it into something that people understand. you can't be too challenging. it has to work. it has to be one plus one makes three. it's like alchemy that happens when all details work together. >> rose: you're a mother, a father, a coach all of that. >> i'm trying to get the most out of the people we put together and trying to get them to do their best work. trying to, when the high tide comes, in all the boats rise. that's the idea when all the
people together are trying to create something special and unique and something that hasn't been done before. >> rose: other than edition where is the hotel business going? >> it's going global. it's going more towards experience and less about transaction. so both those things. we're seeing around the world hundreds of millions of people for the first time with resources to travel. china alone has gone from a million outbound international trips to over is hundred million a year in about seven or eight years, and their goal is 500 million. that's one country. their goal is to do 500 annual outbound trips. >> rose: 5x? 500 million. and you see that being replicated in india and africa and latin america. >> rose: all the places. all these people want to travel and want to go to the places they read about forever so that's, of course, a great
city like new york. the united states is very high on the list. paris and london. we'll see -- i think we'll see that huge tailwind that will help the business globally. i think the second is along the lines of edition and that is people want deeper experiences. let me remember where i slept last night. we have a memory of it, literally. let me have a meal i i can instagram. >> rose: how has online changed this? >> technology is changing this. we sell $10 billion a year online. that's transformative but maybe less deeply interesting in some respects. that's just the way you book a room today as opposed to calling the travel agent. >> rose: does it make their
experience more efficient? >> more efficient for us. >> rose: and provide more information. >> it's all integrated in there. the more interesting pieces is how do we allow you when you near one of our hotels to communicate with us with the device that you would like to communicate with us? usually that's somebody's cell phone. it's not that phone sitting on your bedside table. >> rose: it's still there isn't it? >> it's still there. i would be interested to see if it's there five years from now. >> rose: every hotel i have been in has an ipad or an ipad mini somewhere in the room. >> this is one of my pet peeves but sometimes the technology is so complicated you can't figure out how to work it. >> i don't believe in the ipad mini. that was kind of a knee jerk response by hotel people trying to do what they think is current with technology. everybody travels with their own technology and i kind of think that's not the answer to doing something technologicall sophisticated. i would love for there not to be
a phone in the room. i would love for there not to be an intercom because nobody uses it. that's something we're looking at now. >> rose: in terms of we talk about an experience, but what makes the experience? you want to sleep well, you want it to be -- but beyond that, you want to be where you notice the quality of things, you notice that the art on the wall in the lobby or whatever, whatever, whatever -- >> everybody knows when they're in a special place and -- >> rose: they know when they're in a place that's not special. >> and it doesn't depend on how much money you have, doesn't depend on your level of education or those objective criteria. it's an ethereal thing, a visceral thing and we all know it. i was thinking when steve jobs you know, the imac computers everyone thought it was a niche
market, and what he is doing has become the future of the technology. i think elevated experiences is the future of the hotel industry. >> rose: elevated experience also. >> yes. something special something unique. you choose a hotel because it's a great, fun place to stay, not merely because of its location not merely because your travel agent put you there and not merely because of the price point. i think that's a seismic shift in the industry. i think that's why somebody like arne recognized this and is doing so many things. >> rose: the reason we're doing this program is not to promote the ecan digs hotels but promote the value of the future that's there. i can see the empire state building. that gives me some caingsd of what's going on. here's another room, what do we see here. >> we're seeing the desk room at
the edition done in a very sophisticated way, decorated like a private home, very sophisticated, not using normal commercial finches and details you might find in a dozen of different kinds of hotels all looking the same but perhaps in in a different color. this is dills distinct and stands out. >> rose: this is. the edition at miami beach. miami, london, and istanbul and our next one is china. >> rose: you're unusual in the marriott corporation, you're not a son, you're a lawyer. i'm in the same group. you, areyou are too. what brought you to mar marriott? >> bill marriott brought me to marriott. i represented marriott when
practicing law in the early '90s, the company was in a very tough time, split into two companies, lots of lawsuits were filed. i tried a jury trial in baltimore where i had the pleasure of putting bill marriott on the stand. he is a man focused on detail like no other. even as a 35-year-old lawyer, he was calling me on the phone saying, how about the deposition today? how did it go? a few years later he said come to marroid marriott, i said i will but not as a lawyer. >> rose: this is the being ian schrager's works. you will see pictures of the '70s, too, which is an interesting part of your life, all the way through this new century. congratulations. good to see you. thank you. >> thank you very much. >> rose: thank you for joining us. see you next time. for more about this program and